They've been out of the limelight for a while, but the sound they pioneered through the 1980s and 90s has never been more in vogue.
Depeche Mode have weathered more rock'n'roll abuse than most bands can even dream about, yet they always seem to rreturn fresh as a daisy.
The band's latest album Playing The Angel sees everything still in its right place and the band are obviously proud of it in conversation.
After a lengthy hiatus, recording in earnest started in January.
Andrew Fletcher explains: "We started recording the album in January of this year in California.
"Martin (Gore) and Dave (Gahan) had been writing songs the previous few months for the album and then we did a five week session, where we amazingly started 11 songs, which is a world record for Depeche Mode."
With the band spread fairly widely geographically, the location was as much to do with necessity as inspiration. As Martin Gore explains: "The only reason we chose Santa Barbara, London and New York for recording was that's where the three members of the band live.
"So it's just, you know, trying to keep everybody happy. Everybody's got families and everybody has their lives."
Despite not hanging out so much these days, when the band convene, the process of creation is pretty simple they say.
Fletcher again: "Depeche, you know, never have a big master plan before the studio, before we start a new album. It happens quite naturally. With regards to this album, I think the sound started to define itself after sort of a couple of weeks and started to lean against the digital sound of the previous couple of albums towards perhaps an older Depeche - more analogue synthesisers, mixed with guitar and that was the direction it was starting to lead in, which we were quite happy with.
"I don't know why we went in that direction. It was a natural progression. Also our producer, Ben Hillier was really into analogue synthesizers and brought quite a collection of analogue synthesisers and with our own collection, [it] just seemed to be the right way to go and also the opposite of the last albums."
Fletcher agrees that it's always easier if the material has had some work on it beforehand.
"Martin and Dave had written quite a few demos, which I think most of them have been unrecognisable now. Some of them are pretty similar, but they were finished songs in the sense that they had words, they had melodies and chord structures."
Although it's been four years since Depeche Mode worked together, the members have been busy on solo projects, Dave and Martin with their albums and Fletcher with his label. Rather than cause a rift, the trio think the experience has helped.
Fletcher explains: "To be honest, I think every person involved, Dave and Martin and myself, we did learn a lot, which is interesting that coming together, you know, would the fact that we've learnt a lot and been our own bosses for a couple of years, would that cause problems, but actually it's been the reverse effect with everyone really into it."
So with the band dynamic revived, did Depeche Mode actually know what they wanted, musically, before they started recording the album?
Martin Gore thinks not: "Not really. I mean, we had the original demos and sometimes the finished version turns out similar to the original demo, but more often than not it turned out something totally different and we started, in the first five weeks, on about 11 songs and I think it was about the fifth song or so that we realised that there was some kind of a direction appearing."
So would he say there are any broad lyrical themes running throughout the album?
"A lot of our songs do deal with subjects that are not exactly typical pop themes and there is the joke that we're going to put on the back of the record, you know, in small writing, 'Pain and suffering in various tempos', which made us laugh for a while and it's still making us smile. We think it's worth putting on the record.
"I've never seen our music as being over-dark. I think that there is always an element of hope in our music and I've always said that and
I think the overall feeling of the music, that comes through in the overall feeling of the music."
The title Playing The Angelcomes from the fact that there are about four songs on the album that reference an angel or angels and the title is part of a lyric from one of the songs called The Darkest Star and the theme of the title seems to reverberate throughout the whole album.
"I don't think it directly says anything about the songs that are on the album," says Gahan. "It sounded good. It's just a play on words that sounded good and like Mart said, it's part of a line from a song. We've done that often in the past as well, where we've been looking for an album title.
"Sometimes you just look through all the lyrics and stuff and something pops out and you just kind of like the way it sounds."
The first single from the album is Precious, a typical DM belter. Martin Gore explains: "Precious is a song about my children, because I'm in the middle of a divorce at the moment and it's about them, what they must be going through, which sounds a bit Country.
"The music behind that is fairly upbeat. I think we feel that it's probably the most commercial, though who knows. I don't think we have a clue what commercial is any more. I think we've always lived somewhere outside of the mainstream. What's commercial for us, is not necessarily commercial to the outside world."
Gore, the main songwriter for the band isn't sure if his art is improving: "I can't tell. I'm really happy with most of the music that we've put out since 1986. Violator a lot of people cite as probably being the pinnacle, but I've really liked Ultra and Exciter after that and at the moment I like, I think, what we're making now and I hope it will stand up there as one of the best records that we've made."